试译 | 荷兰灰——海杜克《美杜莎的面具》

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一位荷兰朋友问我是否想去看郁金香花田。暗地里，我其实并不想去（看郁金香花田）。不知为何，我总觉得去看那么多红的、黄的、白的、紫的郁金香，有些过（于多彩）了。（所以）不管怎样，我都不太想去看。但我的朋友极力说服我和他一起去。我很庆幸他说服了我。他带我走进了一个更深的视角。当我们沿着穿过郁金香田的道路骑行时，我开始理解蒙德里安。我一直以为他是一位“国际画家”；（直到那时）我才明白他是一位“荷兰画家”。让我想起蒙德里安的并非郁金香的颜色，而是种植郁金香的沙和土的密度。那是一种浓稠的氛围。场所，土地，泥土，全是密密麻麻的。五颜六色的花朵并非原因所在。那些被困在尘土里的光晶体无限投射、压缩，将空气照亮成一种灰色的体量……荷兰灰。

以下英文原稿

A Dutch friend asked me if I would like to see the tulip fields. Inwardly I really did not want to see the tulip fields. For some reason l thought that seeing so many tulips-red, yellow, white, purple-would be too much. In any case I did not want to see the tulips. My friend persuaded me to go with him. I am glad that he did. He brought me into a deep view. When we rode along the roads which moved through the tulip fields I began to understand Mondrian. I always thought him to be an international painter; I found him to be a Dutch painter. It was not the color of the tulips but the density of the sand and earth where the bulbs were planted which reminded me of Mondrian. It was the atmosphere of opacity. The place, the land, the earth was dense opacification. The colored flowers were not the issue, it was the infinite penetration and the compaction of trapped light crystals in the earth which illuminated the air into a grey solidity . . . Dutch grey.

1. 本篇英文原稿及封面来自Mask of Medusa，by John Hejduk；

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